Academic Overview Chapter
Music Theory: Advanced Post-Tonal Harmony
Chapter 5: Advanced Post-Tonal Harmony
Introduction:
In this chapter, we will explore the fascinating world of advanced post-tonal harmony. We will delve into key concepts, principles, and historical research to provide students in Grade 11 with a comprehensive understanding of this complex musical style. By the end of this chapter, you will have a solid foundation in advanced post-tonal harmony and be able to analyze and appreciate its intricacies.
Key Concepts:
1. Atonality:
Atonality is a fundamental concept in advanced post-tonal harmony. Unlike traditional tonal music, which revolves around a central key, atonal music lacks a tonal center. It is characterized by the absence of clear tonal relationships and the use of dissonant intervals. Composers such as Arnold Schoenberg and Alban Berg embraced atonality, pushing the boundaries of traditional harmony.
2. Serialism:
Serialism is a compositional technique that emerged in the early 20th century. It involves the use of a series of pitches, rhythms, or other musical elements as the basis for a composition. The series can be manipulated in various ways, such as transposing, inverting, or retrograding, to create a cohesive musical structure. Serialism was championed by composers like Anton Webern and Pierre Boulez.
3. Set Theory:
Set theory is a mathematical approach to analyzing musical structures in advanced post-tonal harmony. It involves categorizing pitches into sets based on their intervallic relationships. By examining these sets, composers can identify recurring patterns and create a cohesive musical language. Set theory provides a systematic framework for understanding the complex structures found in advanced post-tonal music.
Principles:
1. Dissonance and Consonance:
In advanced post-tonal harmony, the traditional notions of dissonance and consonance are expanded. Dissonant intervals, once considered harsh or unstable, are now embraced as integral components of the musical language. Consonance, on the other hand, can be redefined and used in unexpected ways. This principle allows composers to explore new sonic possibilities and challenge listeners\’ expectations.
2. Voice Leading:
Voice leading refers to the movement of individual musical lines or voices within a composition. In advanced post-tonal harmony, voice leading can be highly complex and unconventional. Composers may use chromaticism, irregular leaps, or overlapping voices to create unique harmonic progressions. Understanding the principles of voice leading is crucial for analyzing and interpreting advanced post-tonal compositions.
3. Texture:
Texture plays a significant role in advanced post-tonal harmony. Composers often experiment with different textures, such as polyphony, homophony, or heterophony, to create a diverse range of sonic effects. By manipulating the density and distribution of musical elements, composers can shape the overall character and emotional impact of a composition.
Historical Research:
1. Second Viennese School:
The Second Viennese School, consisting of composers Arnold Schoenberg, Alban Berg, and Anton Webern, was at the forefront of advanced post-tonal harmony in the early 20th century. Schoenberg\’s development of atonality and later serialism revolutionized Western music and paved the way for future generations of composers. The works of the Second Viennese School continue to be studied and analyzed for their innovative approaches to harmony.
2. Darmstadt School:
The Darmstadt School, a group of composers and theorists centered around the Darmstadt Summer Courses for New Music in Germany, further expanded the boundaries of advanced post-tonal harmony in the mid-20th century. Figures such as Pierre Boulez, Karlheinz Stockhausen, and Luigi Nono embraced serialism and electronic music, pushing the limits of traditional composition. The Darmstadt School\’s contributions to advanced post-tonal harmony continue to influence contemporary music.
3. Contemporary Approaches:
In recent years, composers have continued to explore and expand upon the principles of advanced post-tonal harmony. Many contemporary composers draw inspiration from the works of the Second Viennese School and the Darmstadt School while incorporating new techniques and technologies. These diverse approaches demonstrate the ongoing evolution of advanced post-tonal harmony and its relevance in contemporary music.
Examples:
1. Simple Example:
A simple example of advanced post-tonal harmony can be found in Arnold Schoenberg\’s \”Pierrot Lunaire.\” This composition, written in 1912, utilizes atonality and unconventional vocal techniques to create a haunting and dissonant atmosphere. Schoenberg\’s innovative use of harmony and voice leading challenges traditional tonal expectations.
2. Medium Example:
A medium-level example of advanced post-tonal harmony is Pierre Boulez\’s \”Le Marteau sans Maître.\” Written in 1954, this composition combines serialism with complex rhythmic structures and intricate textures. Boulez\’s meticulous attention to detail and mathematical approach to composition exemplify the principles of advanced post-tonal harmony.
3. Complex Example:
A complex example of advanced post-tonal harmony can be found in Karlheinz Stockhausen\’s \”Gruppen.\” Composed in 1955-1957, this piece is written for three orchestras and explores spatialization, complex rhythms, and intricate harmonic structures. Stockhausen\’s innovative use of multiple musical layers and unconventional performance techniques showcases the depth and complexity of advanced post-tonal harmony.
In conclusion, this chapter has provided Grade 11 students with a comprehensive understanding of advanced post-tonal harmony. By exploring key concepts, principles, historical research, and examples, students are equipped with the knowledge and analytical tools to appreciate and analyze this complex musical style. Advanced post-tonal harmony continues to evolve and shape contemporary music, making it a vital area of study for aspiring musicians and composers.